THE HISTORICAL NOVEL 387 expression. His historical novel Die Tage des Konigs (1924) is a scholarly well-documented study of Frederick the Great, who also dominates the scene in Trench, }Loman eines Gunstlings (1926), a lively picture of Prussian rococo. Bruno Frank's enlightened Liberalism shines out from Politische Novelle (1928), a discussion rather than a story, which rejects the plea that antagonism between France and Germany is a necessary evil and in its vivid pen-pictures of Briand (as Dorval) and of Stresemann (as Carmer) shows how elementary the idea of permanent peace really is. His vie romances of Cervantes (1935) is a thorough de-bunking; there is topical interest in the satirical account of the decrees for the prevention of blood-pollu- tion at a time when there was not a grandee's family in Spain but Jewish blood flowed in his veins, Don Quixote is shown to be the product of utter disillusionment, not so much of sex (though Dul- cinea is depicted as a literal portrait of the country girl Cervantes marries) as of the hopeless misgovernment of Spain. Chamfort er- %ahlt seinen Tod (1937) is the vie romancee of this French aphorist. DerE^isepass (1937) is yet another denunciation of the Nazi regime by an emigre (to the United States). Several of Bruno Frank's dramas were successful on the English stage; of these Zwolftausend (1927) throws a lurid light on the sale by a German princeling of 12,000 of his subjects to England as cannon fodder. Sturm im Wasserglas (1930) - James Bridie's Storm in a Teacup (1937) - is uproarious in its picture of a platitudinous dictator engrossed in self and dead to human pity. Nina (1931) is a study of a guttersnipe transformed to a film-star; for love of her husband she sacrifices her glamorous career, which is taken over by a double. Die Tochter (1943) is based on the life of the mother of the author's wife, a cabaret artiste who is half Jew and half Pole, and of her father, an Austrian officer; the ground theme is anti-Semitism. Bruno Frank is most effective where his allusions are transparent - e.g. the theatre director in his Novelle Der Magier (1929) resembles Max Reinhardt; where he handles merely pathological problems he has no incisiveness - e.g. in his drama Die Schwestern und der fremde (1918), in which a physically cold intellectual humanitarian satisfies the desires of a girl doomed by consumption, but, when she dies, tells her robust sister, who wishes to fill the gap, that he is an icy monster.